"When noise is the default, silence is what catches attention." - Amy Dentata

Sunday, March 22, 2015

Critical Switch: Rest in Pain

I realize
that what you came here for, what a good 37 of you pay $163 a month
for, is to hear me talk about videogames. But I'd like to think that,
for the most part, what that really means is “here's a good game
I'm gonna talk about, and here's why it's good, about 90% of the time
or more. You can get my personal brand of cynicism on Twitter. If
people listening right now trust my taste in videogames, I hope that
means you also trust my taste in music, in films, and in television.
So from time to time, you'll hear me do an episode on a medium that
isn't videogames. For your pleasure and mine.

This week
I'm going to be talking about Twin Peaks.
If you haven't seen it, watch it. It's on every major streaming
service, I'm sure it's pretty easy to acquire one way or another, and
it's quite possibly the best show to ever air on American television,
a reputation that precedes it and whatever statements I may make on
it.

Take
note: Twin Peaks is a
detective story whose primary plot thread involves multiple instances
of sexual assault, it can be deeply disturbing. This episode also has
significant spoilers for Twin Peaks.
I'm serious, I tell you who the killer is, if you don't want to know,
turn back now and watch the show first.

Without
further ado:

I feel like
all of my favorite scenes from Twin Peaks
don't make anybody else's list. The ones that have resonated most
strongly with fans are the scenes that are the weirdest or most
Lynchian: the red room, or Audrey Horne tying the cherry stem with
her mouth. Those can be a bit . . . surface-level(?) for my liking?

I
mean, they're good scenes and all (a show with two seasons on the
books doesn't get remembered for being inconsistent,) but they're
also somewhat self-explanatory and they can tend to be obfuscant of
the totality of what the show is. The red room is weird, David Lynch
is weird, Twin Peaks is fuckin weeeeeeiiird man,
but that surface level weirdness acts mostly as a premonition for the
murder mystery, it's not the kind of weirdness that exists in most of
the show. Sherilyn Fenn is astoundingly
hot but reducing her to that one quality or that one scene covers up
her independent side, for example, the fact that the reason she's
there in that scene to begin with is because she's doing independent
investigative work on the murder of Laura Palmer.

There's
at least one scene in the show, however, where all of the things that
have surface-level appeal to Twin Peaks
and where so much of it's subtext comes together just beautifully.

The
funeral scene in Season 1, Episode 4, “Rest in Pain,” written by
Harley Peyton and directed by Tina Rathborne, for which Peyton was
nominated for the primetime drama writing Emmy is probably my
favorite moment on the show and that makes it a pretty strong
contender for my favorite moment in any television program.

That
the funeral itself is even happening, at least in this particular
moment of time, is an indicator of the town's old-time values, and
even a sign of resisting outside forces.

I'm
gonna represent events in the episode out of order here to create a
sort of thematic progression. Laura Palmer's funeral is scheduled for
the day of her autopsy to be performed by Dr. Albert Rosenfeld,
played by Miguel Ferrer. He's arguing with the local police coroner
so he can continue investigative work on Palmer's body while the
locals, in this case represented by the Richard Beyman's slimy
businessman Ben Horne, demand he release the body for the funeral
that day. Rosenfeld is foreign to the audience at this point, and his
verbal disregard for the town and characters we're already familiar
with is meant to make us dislike him.

However,
he's also completely right: allowed more time with the body he
might've found, just to name an example, DNA evidence of who violated
and murdered her. Cooper, in his empathy for the town and it's
values, demands Rosenfeld to cut his work short. Cooper, the
townspeople, and presumably the audience, make an utterly damnable
assumption here, that
Rosenfeld's vulgarity is a lack of sympathy. This is plainly false.
We learn later in the series that the man is a pacifist, which is
perhaps why he tries to contain physical violence through acerbic
verbiage, but it's also why he investigates crimes, and he thus
brings the full weight of personal interest into his work. This, I
think, reflects nicely in Ferrer's performance in a later scene where
he presents his findings to agent Cooper and Sheriff Truman. He's dry
in presenting the evidence, but mournful that he was only allowed so
much time.

DR.
ROSENFELD

A
couple more days with the body who knows what I might've found.

SHERIFF
TRUMAN

Excuse
us, we have a funeral to attend to.

In
making this assumption of Rosenfeld's cynicism and shall we say
“Yankee-ness,” we also ignore something about the town: that they
have something to hide in all this. While many townsfolk are
unconvinced they played a role in Laura's death (we'll get to that),
we also know that Palmer was a walking monument to the night culture
of the town that it does not want outsiders to see: taboo sex and
hard drugs, the sort of thing centrists might call “alternative
lifestyles” as though there's some inherent normalcy to the
missionary position or drinking beer instead of smoking pot (or
snorting blow.) We should note in the earlier scene at the morgue
that the representative of the regular townsfolk is Ben Horne, the
slimy businessman, a guy with a lot of dirty secrets himself, the
closest thing the show has to a legitimate villain at this point in
it's run.

BEN
HORNE

Mr.
Rosenfeld, please! Now, uh . . . Leland Palmer couldn't with us
today, but I know I speak for everyone, the Palmer family included,
when I say that, uh . . . we appreciate . . . and understand! The
value of your work. But as their representative I must insist that we
consider the feelings . .
. of the Palmer family as well.

Ben
reveals his true colors right before the funeral. We overhear him
discussing with his wife about how best to get their son, Johnny,
who has what are described as “emotional issues,” to remove a
Native-American headdress he constantly wears so he can appear
respectable for the funeral. There is little compassion in his words.
His mentally disabled son is not able to easily conceal what he truly
feels like the rest of the town, and Ben is ashamed of him for that,
for his son's disability. Ben Horne has other, more human moments,
but I think in this moment he also speaks as a representative for the
town, revealing their inner cynicism, and their wish to conceal
truths they don't want to engage with, like his son's disability, or
Laura Palmer's life.

As
Cooper leaves the autopsy room, having ordered Rosenfeld to release
the body, he places Laura's limp, dead hand flat on her chest. The
limp hanging wrist is an honest image of death. By replacing that
hand, Cooper takes part in a narrative that wishes to preserve an
image of Laura of beauty and supposed innocence. The sad thing is,
she was both, but the narrative that the people of Twin Peaks want to
preserve about her life is, to them, unable to be reconciled with the
life she lead. This, I think, becomes especially pertinent when we
recognize that Laura Palmer was not only murdered, but raped multiple
times before so. In attempting to privilege the details of what we
might call Laura's “day life” the town is participating in a sort
of silent victim blaming. It was Laura's fault she was raped and
murdered because, in the eyes of the town folks (some might say in
the eyes of the show's creative team), Laura's lifestyle choices are
inseparably linked from the cause of her death, and that those who
live more puritanically avoid such fates.

That's
a bit heavy. Let's take a short break and enjoy some more of the
music of Twin Peaks, shall we?

Earlier
in the episode, we then have Bobby Briggs performed by Dana Ashcroft
with his father the Colonel played by Don S. Davis, both of them just
immense fucking
talents shining brightly in these roles.

The
Colonel, a soldier by trade obviously, has had his run ins with
premature deaths just like Laura. Bobby is a fair bit like Laura: hes
always walking on the wild side, selling cocaine, occasionally
drinking while he drives, smoking, and dating Laura before her death
while also having an affair with a married woman. But while he's
danced with death, he's always taken lead.

Laura's
death represents the first time his mortality is ever really apparent
to him. As his father sits back calmly attempting to explain how
funerals allow people to come to terms with death and accept it,
Bobby plays with a lighter. At first, he opens it, flicks it, lets
the flame burn briefly, and then shuts it, extinguishing the flame.
This is a process that Bobby Brigs has probably performed countless
times until this point, as have people he associates with, those who
walk with him on the wild side. As quickly as life begins, so
suddenly is it gone. Now he opens it again and leaves the flame,
standing the lighter on the table, cupping his hands around it to
preserve it. The flame diminishes quickly, but we see here a greater
appreciation to preserve things that can so suddenly end. As the
colonel finishes his monologue, Bobby closes the lighter again. We
can see it on his face: Bobby is angry. He is disgusted. He is
afraid. But this may perhaps be the first time he has ever felt these
things so deeply in his life, and he turns that anxiety into a
performance.

COLONEL

Son,
don't be afraid. We'll all be there together.

BOBBY

Afraid
of what?

COLONEL

The
funeral.

BOBBY

I'm
not afraid of any damn funeral. Afraid? . . . I can hardly wait!

AFRAID?!
I'M GONNA TURN IT UPSIDE DOWN!

Now
we're at the funeral. The funeral has this clear progression to it
that I think represents everything Twin Peaks
is about in a really, just utterly gorgeous way. As the funeral
starts, the preacher gives a sermon, a pretty heartfelt one, about
Laura's life, but the camera tells us the real story. These people
aren't really thinking about Laura, they're thinking about
themselves. That's fine and all, funerals are for living, not the
dead. Donna Hayward has one of the more genuine expressions of grief
as she looks down at the coffin. She legitimately was one of Laura's
close friends. Bobby Briggs looks down, but his face is contemptuous.
He holds this entire event in contempt. Agent Cooper looks at the
preacher, I'd say in respect for a faith that is not his, as he has
shown respect, maybe even envy, for this culture he does not belong
to. Ed Hurley looks at the preacher as well, but, perhaps filled with
guilt at his wife's undying love and his adulterous affair, looks
away, purses his lips, his gaze shifting. The camera shifts back to
Agent Cooper, always on the job, now looking at the other mourners:
Bobby, still contemptuous, getting more annoyed as he breaks his gaze
on the coffin and silently, but visibly, sighs. Cooper's gaze then
finds James Hurley, who had spoken of his intent not to appear at the
funeral, but is here now. James' eyes are fixed on Bobby, who he
thinks is responsible for the murder. Donna's eyes then find James,
who she is slowly falling in love with, before guiltily shifting back
to the funeral. Audrey Horne, engaging her own infatuation, shoots a
flirtatious look at Cooper. Cooper returns the favor. These people
are losing focus, but it was never really on Laura to begin with.

As
the preacher ends his sermon, Johnny Horne sincerely intones.

JOHNNYAmen.
Amen!

And
out of nowhere Bobby fucking loses it.

BOBBYAAAAAAMMMMMEEEENN!!!

He's
tired of this charade. He knew “the real” Laura Palmer, and he
lives her kind of life. He knows these people don't really care about
her just like they don't care about him, that they're trying to cover
their tracks by appearing respectable. And he has had enough.

BOBBY

What're
you lookin' at? What are you waiting for? You make me sick. You damn
hypocrites make me SICK!!! Everybody knew she was in trouble! But we
didn't do anything. All you “good” people. You wanna know who
killed Laura? YOUD DID! We all did. And pretty words aren't gonna
bring her back, man, so save your prayers! She would've laughed at
them anyway.

The
artifice is exposed. As is the nerve. James furiously leaps at Bobby
and they begin fighting, people pick sides or try to hold the two
back, and the funeral comes apart.

Leland
Palmer, struck with grief, jumps on to his daughter's coffin, and the
scene begins to take on a tone of incredible awkwardness that has
been slowly bubbling beneath the surface. The reasons for this are
threefold:

Leland's
landing screws with the very loud mechanisms by which Laura Palmer's
body is to be put in the ground, and people have a hard time getting
Leland off of the coffin as well as just putting the damn thing
in the ground and getting this over with so people can go home.

His
wife intones, bizarrely, “Don't ruin this too!” As though the
funeral is . . . what it really is: a social performance of grief.
As though Leland had ruined something else in their family and was
then an active embarrassment. This is all of course true because

Finally:
Leland Palmer, who is expressing this incredible grief, as a father
might? Is the one who repeatedly raped and murdered Laura Palmer.

Thank
you for joining me, I know it's been a heavy and unusual episode. In
this episode we've heard the “Twin Peaks Theme,” “Audrey's
Dance” and “Laura Palmer's Theme” from the Twin Peaks
original soundtrack by Angelo Badalamenti. Critical Switch is
supported entirely by listeners like you at
Patreon.com/Criticalswitch, and that'll be linked in the description.
Next week you'll be joined once again by Zolani Stewart.

This
time from Redmond, Washington, I'm Austin C. Howe.

COOPER

Do
you believe in the soul?

HAWK

Several.

COOPER

More
then one?

HAWK

Blackfoot
legend. Waking souls that give life to the mind and the body. A dream
soul that wanders.

COOPER

Dream
souls? Where do they wander?

HAWK

Faraway
places. The land of the dead.

COOPER

Is
that where Laura is?

HAWK

Laura's
in the ground, Agent Cooper. That's the only thing I'm sure of.